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64 ADVANCED PHOTOGRAPHER ISSUE 38
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Welcome
will cheung FRPS, editor
Will has worked in photo mags for over 25 years and been taking pictures for even longer. His photographic interests are very broad, from nature to portraits.
Welcome to Issue 38. While many photographers put their cameras away for the winter, as you have bought this magazine you clearly aren’t one of them. And you’ll want inspiration to keep you going over the coming months. Well, we’ll certainly have plenty to fire your imaginations. To start with, in this issue we look at making the most of the interesting weather at this time of year. Rain, mist, fog and snow all make for fascinating images so we have technique advice for you, plus our inspire interviewee, Brian Beaney, offers ideas to improve your shots afterwards. We also talk to Irish photographer Brian Hopper, a man who’s enjoyed a lot of success in exhibitions with his creative images. Getting acceptances into salons and winning competitions are both great ways to get your hard work recognised. But there’s more to it than meets the eye. Our How to Win feature should help. In Photo Kit, we have a full test of the Olympus OM-D E-M1, which we previewed last issue. Is this CSC the real deal? Read the review to find out. We also have part two of our superzoom lens test, plus a load of photographic accessories that you might like to find making a bulge in your Christmas stocking. See you next issue for more quality inspiration.
Will Cheung FRPS, Editor
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Contents
Subscribe
to Advanced Photographer
46
CAPTURE: Bad weather
30
GO SHOOT: Festive lights
The cover story... Colin Whitehouse’s cover image was taken at Kimmeridge, the location featured in Top Spot this issue, page 24. “I was there well before sunset,” Colin says, “and set up in the dark hoping to get the picture I was after. This was my fourth attempt. I started to shoot as the sun showed itself over the back of Clavell Tower, with a 4x ND and a 0.6EV ND graduate filters to get an exposure time of one second.” Nikon D700, 16-35mm f/4, 1sec at f/8, ISO 200, manual exposure mode and spot meter measurement
www.evanescentlight.co.uk
38
CREATIVE ART: The fantastical work of Brian Beaney
See PAGE 64 For details
Inspiration, technique, opinion 6 UPFRONT We go old
school with Nikon’s latest DSLR and lenses, get a style update from Olympus and recommend some reading.
10 sitting in judgement: INSPIRE
Cheung might be too old to leave sherry and a mince pie for Father Christmas, but you’re never too old to write a present list – or keep a bag of sweeties handy.
No stranger to winning awards with this innovative images, Brian Hopper has now moved into the hot seat himself, judging his first salon.
30 go shoot: CHRISTMAS LIGHTS For
18 in it to win it: CAPTURE Think you’re
34 reader challenge
ready to ascend the podium and accept gold for your skills? Then let us help you on the way to landing a medal.
24 TOP SPOT: kimmeridge bay A
distant tower, ledges and rocks for foreground interest and perfectly situated for sunset and sunrise – it’s one not to miss.
4 advanced photographer ISSUE 38
29 EXPOSED Editor
an indulgent dollop of light relief this festive season focus on Yuletide decorations.
Take five readers, place them carefully in a vineyard, add a dash of creativity and a splash of Samsung kit and what do you get? Winning images, of course.
38 the artist: inspire
Describing his approach as photographic painting, Brian Beaney creates masterpieces in Photoshop, using his initial photos as the basis.
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Contents
10
INSPIRE: The winning images of Brian Hopper
66 FULL TEST: Olympus OM-D E-M1
52
LIGHTING ACADEMY: Why one head is good enough
Photo Kit: the latest gear tested 46 brr… it’s cold outside: capture Just
because the temperatures are dropping, don’t put your camera into hibernation. Wrap up warm and get outside; there’s a winter wonderland waiting for you.
52 LIGHTING academy
Lighting guru John Denton gets back to basics with one light and a range of modifiers.
59 competition time
You’ve been framed – well, one of your images will be if you win this prize worth more than £400. And all you need to do is answer one question.
60 RAW MASTERCLASS
Take a broader view with Photoshop, as we show you how to crop and merge for a beautifully detailed panoramic landscape shot.
Mirror, mirror on the wall is this the fairest CSC of them all? It could be that this mirrorless camera will usurp your DSLR.
64 SUBSCRIPTION OFFERS Treat yourself to a
Christmas present that keeps giving all year.
114 NEXT issue There’ll be plenty to keep you busy this festive season, from ideas for extreme exposures and a killer feature that’s sure to inspire to four camera reviewed and marque 70300mm lenses tested.
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66 olympus om-d e-m1
85 accessory essentials Which of
these little gems will make it onto your letter to Father Christmas? 86 B+W 160M 64x 1.8 ND & Hitech Formatt ProStop IRND 6 89 Lencarta Atom 180 91 Epson Expression Photo XP-950 94 Manfrotto 190 series 95 Westcott Ice Light 97 Lexar Professional Workflow Reader Solution 98 Metz BL-400 kit
75 superzooms It’s the sequel in our mega test. We reveal the final four optics in the running for the Best in Test accolade. ISSUE 38 advanced photographer 5
capture
Just rewards
Brian Hopper won the top prize in the 24th FIAP Colour Print Biennial in 2012 with this image. “It was on the cover of the biennial catalogue, a first for me in salon catalogues,” says Brian. “The lone fishing boat seemed a fitting focal point for this shot taken at 5.30am on a very still morning with the Cooley mountains providing a perfect backdrop.”
18 advanced photographer ISSUE 38
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capture
Just rewards
winning ways
Getting accepted into a major exhibition or winning a prize in a contest is a popular way to get your image-making skills recognised. But competition is intense and you need to be on your mettle to succeed – our expert advice will help too WORDS Will Cheung PICTURES Various
© brian hopper
We love photography because it’s fun and, to coin an old-fashioned expression, it’s a great hobby. Many photographers like to take their creativity further and get wider acceptance of their talents. That might mean shooting for money, or as we discuss here, by trying to win a competition or getting their work hung in an exhibition. Brian Hopper’s portfolio on the previous eight pages shows the sort of images that are scooping accolades in photographic exhibitions and salons right now.
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ISSUE 38 advanced photographer 19
GO SHOOT
Xmas lights
Give yourself a break from the build-up to the festive season and take a trip out with your camera and tripod for some light relief WORDS & PICTURES will cheung
Christmas is a great time of year, especially as it brings fresh and challenging photo opportunities to the table. Christmas lights, for example. These can be in your local town centre – even in these times of austerity your local town or city centre is bound to be adorned with pretty, colourful lights. If you’ve done the town lights before, you could always concentrate on what you have at home, or in other people’s homes. The principles aren’t much different, shooting out on the street or at home, although, of course, at home you don’t
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need to worry about keeping warm and safe. In terms of kit, your usual camera and lenses will be perfect. Add a tripod, small torch and you are ready to go. A remote release will be handy but if you forget it, the camera’s self-timer, set to two or five seconds to save wasted time, is fine for timed shutter speeds. For B you will need a lockable remote release. The best time to shoot Christmas lights is when there is still some colour in the sky. Now that the clocks have gone back, twilight is early in the evening so shoot
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GO SHOOT
Xmas lights
BELOW Christmas lights offer a whole host of photographic opportunities, shooting indoors or outdoors. Try using the zoomburst technique for interesting detail shots.
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ISSUE 38 advanced photographer 31
inspiration
Altered images
38 advanced photographer ISSUE 38
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inspiration
Altered images
WORDS TIM MCCANN PICTURES brian beaney
Brian Beaney combines his love of painting, printing and photography to create what he calls ‘enhanced photographs’. His work has won countless awards, and here he reveals the secrets behind his work…
“Firstly I needed to remove the bland sky and import a more dramatic one. I then changed the composition slightly by warping down the rocks. Next I Introduced some mist and added a duplicate layer in Multiply mode to darken the whole image. I followed this by adding a warm-up filter. From then on I spent hours retouching the foreground grass and lichen.” www.advancedphotographer.co.uk
ISSUE ISSUE38 38advanced advancedphotographer photographer 39
Photo Kit
Olympus OM-D E-M1
Olympus OM-D E-M1 After the success of the original OM-D, Olympus has pushed its Micro Four Thirds system even further in the professional OM-D E-M1. Is this the mirrorless camera that could replace your DSLR?
WORDs ian fyfe PICTURES ian fyfe & will cheung
KEY FEATURES £1299 body only, £1950 with 12-40mm 16.3 megapixels Dual Fast AF Splash, dust and freeze proof Full wireless control
Durability The OM-D E-M1 has been designed to be taken anywhere, so is built to survive the harshest of environments. Like the OM-D E-M5, it features dust and splash proofing, but it’s also freeze proof. This means it’s guaranteed to continue working down to temperatures as low as -10°C. The new 12-40mm f/2.8 kit lens is similarly protected, and the forthcoming 40150mm f/2.8 lens will be too.
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Flexible control The OM-D E-M1 features a total of ten customisable buttons, and with 2x2 control that gives some of them dual functions, you can have up to 16 direct-access buttons programmed almost exactly as you wish. These function buttons include two on the front of the body that weren’t on the OM-D E-M5, tucked in beside the lens mount for control with your fingers on the handgrip.
Wi-Fi The E-M1 is Olympus’ second camera to feature Wi-Fi, and it’s the first time that it provides remote control from a mobile device in modes other than Auto. It also allows you to transfer images to your device and use a phone signal to geotag your pictures. Making a Wi-Fi connection between the E-M1 and a mobile device simply requires you to scan the QR code that appears on the LCD screen when you turn on the Wi-Fi.
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Photo Kit
olympus OM-D E-M1 The idea that a mirrorless compact system camera could offer a serious alternative to a DSLR may often be met with scepticism, but Olympus has already proved that its Micro Four Thirds system has what it takes. The OM-D E-M5 was met with incredible success and, although designed for serious enthusiasts, even made its mark in professional circles. Now, Olympus has created its successor, and this time it’s gone further, pulling out all the stops to create a camera that’s designed for professional photographers. If the OM-D E-M1 even comes close to achieving this standard, then it also holds huge potential for enthusiasts who want a smaller alternative to a DSLR without any compromise on image quality. From the outside, the E-M1 retains the overall body shape and retro styling of the E-M5, although it’s bigger by a few millimetres in all dimensions and heavier by more than 70g. Olympus says the camera’s dimensions have been chosen with input from professionals who used the E-M5, and the increase provides a camera that it considers to be the ‘perfect size’. It certainly feels better in the hand, but it’s not the size of the body per se that makes the most difference. In terms of holding the camera, a new chunky handgrip is what improves things. Unlike the ridge on the front of the E-M5 body, this lets you wrap your hand round for a DSLR-like hold that’s more comfortable and secure. The benefit goes beyond this though – the extra space gained on the top-plate has allowed for repositioning of the command dials for easier access, and with the mode dial now on the right, there are extra buttons to the left of the viewfinder. One of the biggest problems of the E-M5 was that the controls were small and fiddly, and the weather sealing made them spongy, but that’s been addressed on the E-M1 – buttons are bigger, easier to find when you have the viewfinder to your eye, and much more positive. The improvement in overall handling from its OM-D predecessor is infinite, and it makes for a camera that’s truly delightful to use by any standards. The controls also provide a huge amount of flexibility in exactly how the camera’s set up. As on the E-M5, there are programmable Fn1 and Fn2 buttons, but there are an extra two customisable buttons tucked away on the front of the body. The movie record and AEL/AFL buttons can also be reprogrammed, and functions can be assigned to each of the directional keys on the multi-selector pad. The E-M1 incorporates the same 2x2 control first seen on the E-P5, with a lever that switches the functions of the command dials from aperture and shutter speed to ISO and white-balance.
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Anatomy of...
Olympus OM-D E-M1 FROM THE TOP With space needed for all the dials to the right of the viewfinder, the on/off switch 1 has been moved to the left side of the top-plate rather than the back as on the E-M5. This is underneath the direct-access buttons for drive mode, HDR mode, AF mode and metering 2 . The mode dial 3 , now on the right, has a clever central locking button that can be left either locked or unlocked – this saves the fiddliness of holding the button while turning the dial. Between the two command dials is the Fn2 button 4 , which is set as a direct-access button to Color Creator, Shadow & Highlight control, image magnification and image aspect, but can be reset as you wish.
4 2
1
3
FROM THE FRONT The most obvious difference in the body of the E-M1 from the E-M5 is the larger handgrip 1 , which provides space for the front command dial 2 to be placed more conveniently around the shutter button. Tucked in beside the lens mount are two new function buttons 3 . Set by default to depth-of-field preview and one-touch custom white-balance, they can be programmed to almost any other function. The Micro Four Thirds sensor 4 has 16 megapixels like the E-M5, but includes onsensor phase detection pixels and there’s no anti-aliasing filter. In the top right corner is a socket for a flash sync cable 5 , with a screw-on cap to protect it.
5
2 1
4 3
FROM THE BACK The electronic viewfinder 1 has a 35mm equivalent magnification of 0.74x, with an eye sensor to activate it. You can also use the tiltable LCD 2 for framing up, and using the Live View button 3 , you can switch between on-screen Live View and a DSLR-like settings display. The wellpositioned 2x2 control lever 4 lets you switch the functions of the command dials and buttons on the left of the top-plate. The buttons are bigger than the E-M5’s, with the directional pad 5 much easier to use and the Playback button 6 positioned more conveniently. The Fn1 button 7 can be set to the function of your choice.
AT-A-GLANCE SPECS Price £1299 body only Contact www.olympus.co.uk Sensor 16.3 megapixels, TruePic VII engine Image dimensions 4608x3456 pixels ISO range ISO 200-6400 (100-25,600 extended) Autofocus modes Single AF, continuous AF, manual focus with focus peaking Exposure compensation +/-5EV in 0.3, 0.5 and 1EV steps
3
1
4 2
7
5 6
Shutter 60secs-1/8000sec Metering patterns Digital ESP (324 area), centre-weighted, average, spot with highlight/shadow control Shooting speeds Single, continuous 6.5fps with AF, continuous 10fps, self-timer LCD screen 3in touch panel with 1037k dots Viewfinder EVF with 2360k dots Storage media SD, SDHC, SDXC (UHS-I compatible) Dimensions (WXHXD) 130.4x93.5x63.1mm Weight 497g (inc battery and memory card)
ISSUE 38 advanced photographer 67
Accessories 6EV ND filters
6EV ND filters Shooting long exposures gives brilliant effects. Here we test two leading 6EV ND filters Words Will Cheung
Extreme long-exposure photography can give wonderful effects but often you need help to obtain the lengthy shutter speeds necessary. The Lee Filters 10EV Big Stopper is probably the best-known filter of this type but there are plenty of other brands available including B+W and Hitech Formatt. A 10-stop neutral density filter (ND) can sometimes be too much, giving shutter speeds that are too long, and sometimes a less powerful ND is needed. That’s where these two 6-stop NDs from B+W and Formatt enter the picture. With a filter factor of 64x, fitting a 6-stop ND means that a 1/60sec exposure becomes 1sec – compared with 16secs with a 10EV ND. On a practical level, while composing and viewing an image must be done before a 10-stop ND is fitted, in bright light you can see through a 6EV ND to compose and focus. This is not ideal but it’s just about possible – when the sun is out. It’s worth pointing out that we use the terms ND or neutral density for brevity. Extreme long-exposure filters are not truly neutral and you need to be aware of this and prepared to do some work in post-production or fine-tune the camera’s white-balance performance. B+W 106M 1.8 64X ND MRC B+W is a long-established filter maker founded in Germany in 1947, merging with Schneider in 1985. It was the world’s first filter brand to offer water- and dirtrepelling Multi-Resistant Coating (MRC) and only the best materials are used. Many B+W filters are available in MRC and non-MRC versions. In previous filters’ tests the MRC has shown itself to be
B+W 106M 1.8 64X ND MRC street Price £154 (77mm screw fit), non-MRC versions £105 Contact www.schneideroptics.com Availability 52mm, 55mm, 58mm, 62mm, 67mm, 72mm, 77mm Filter Factor 64x, 1.8 optical density Materials Glass filter and brass filter mount Features Multi-Resistant Coating (MRC) that is dust- and water-repellant, IR Blocking, Filter 486 is placed in front of the ND glass
86 advanced photographer ISSUE 38
incredibly effective at repelling dust and water. That performance comes at a price premium – the non-MRC, single-coated version of this filter is in the shops at £105, the MRC option costs nearly £50 extra. In our test the B+W performed well although the results had a pronounced warm cast. This wasn’t off-putting and often enhanced the scene, but if you don’t like it, the Raw file is quickly corrected in post-production. With a filter-off, filter-on test on a tripod-mounted camera in consistent light, the 6EV ND rating was just about spot on. With both filters here I tried aperture-priority autoexposure and the results were fine. Hitech Formatt ProStop IRND 6 The ProStop series is available in square/ rectangular slip-in form and screw-in sizes. Check availability and price of what you need on Formatt’s website. Earlier Formatt extreme NDs could suffer from infrared pollution but the company has clearly looked at this aspect and worked hard to avoid any such issues. The filter is made from optical resin so it feels light, but also has the plus point of being very tough. I did drop it once onto a stony path and it bounced into the wet grass. A quick wipe down revealed no harm had come to the filter. As opposed to the B+W, the Formatt gives slightly cool results – although not as cool as a Lee Filters Big Stopper is known to give. I left the camera in AWB and in sunlight the results were marginally blue. Of course, the Raw file is easily corrected so not a problem. The 64x filter factor is almost spot on.
B+W 106M 1.8 64X ND MRC
Hitech Formatt ProStop IRND 6 street Price £101.82 (100x100mm resin) Contact www.formatt-hitech.com Availability 67x67mm resin, 85x85mm resin, 150x150mm resin, 165x165 resin, wide range of screw size Filter factor 64x, 1.8 optical density Material Optical resin with refraction index nearly identical to optical glass Features Claims to be world’s most neutral ND; infrared blocking, light gasket seal, high scratch resistance, chamfered edges to resist breakage
Hitech Formatt ProStop IRND 6
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Accessories
6EV ND filters
LEFT Both filters had positive results in our tests, with the only aspect that differed massively between being the colour casts. Both rate highly in our books, but the price difference of £50 may be a deal-breaker for you.
THE VERDICT I have to say, both filters acquitted themselves very well and will certainly deliver fine results with no problem at all. Which one you go for will probably be influenced by price and whether your preference is for a slip-in or screw-in filter – the Formatt is available in both types. Screw-in filters may have the advantage in the much longer term because there is no light-fast foam gasket to worry about. The two filters were accurate in terms of six stops of light absorption and both have slight colour issues – the B+W is warm and the Formatt is cool – but nothing beyond the pale and easily remedied in post-production. In sum, you won’t go wrong whichever you choose, so buy one and try long exposures.
B+W 106M 1.8 64X ND MRC Features
25/25
Handling
23/25
Performance
24/25
Value for money
21/25
MRC, brass mount, high-quality glass Screw-in filters can be fiddly
No problems at all apart from the warmth The MRC version is pricey
OVERALL
93/100
A once in a lifetime investment so worth it Pros MRC, brass mount, screw-in is quick and no future worries with respect to light leaks Cons Gives slightly warm results, cost
Formatt ProStop IRND 6 Features
25/25
Handling
23/25
Performance
24/25
Value for money
23/25
Infrared blocking and claims to be neutral
Just make sure the filter is correctly positioned No problems apart from the slight coolness Attractively priced
OVERALL
95/100
Nice price and fine performance Pros Tough, wide range of sizes, price Cons Slightly cool results
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ISSUE 38 advanced photographer 87
Advanced Photographer
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39
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Editorial Team Editor Will Cheung FRPS ☎ 01223 499466 willcheung@bright-publishing.com Technical Writer Ian Fyfe ☎ 01223 499456 ianfyfe@bright-publishing.com Sub Editors Lisa Clatworthy, Hannah Bealey, Siobhan Godwood
© RUSS BARNES
Contributors this issue Richard Hopkins, Charlotte Griffiths, Tim McCann, Brian Hopper, Brian Beaney, John Walmsley, Colin Whitehouse
the art of monochrome Shoot extreme long exposures for great black & whites
Lighting academy Are two heads better than one?
Malham © ANDREW MACDO
NALD
all these cameras tried & tested
Nikon D610 Fujifilm X-E2 Samsung Galaxy NX Canon G16 part 1
A reader explains his love of photographing beautiful women
70-300mm lenses
Quality telezooms from Canon & Nikon reviewed
Issue 39 ON SALE 19 december 114 advanced photographer ISSUE 38
Advertising Team Business Development Director Dave Stone ☎ 01223 499462 davestone@bright-publishing.com Sales Director Matt Snow ☎ 01223 499453 mattsnow@bright-publishing.com Key Accounts Maria Francis ☎ 01223 499457 mariafrancis@bright-publishing.com Key Accounts Mike Elliott ☎ 01223 499458 mikeelliott@bright-publishing.com Design Team Design Director Andy Jennings Design Director Dean Usher Senior Designer Alan Gray Design & Production Manager Grant Gillard Web Team Flash Developer Ashley Norton Publishing Team Publishing Director Andy Brogden Publishing Director Matt Pluck Editorial Director Roger Payne Head of Circulation Chris Haslum Contributing to Advanced Photographer Advanced Photographer is always looking for photographic talent so if you feel your pictures are worthy of being featured on the magazine we would love to hear from you. In particular we want creative pictures showing the use of popular and innovative camera techniques. By post: Send us a CD with 12 images or fewer, together with a contact print of images, and a brief covering letter outlining your ideas and photographic credentials. In terms of file size, please ensure that the image is at least A4-size (21x29.7cm) and 300ppi resolution. If you prefer, up to 12 unmounted A4 prints can be submitted. Please enclose a stamped SAE if you want the CD/prints returned. ☎ Advanced Photographer, Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ. By email: Please email us at info@advancedphotographer. co.uk. Attach no more than six low-resolution JPEGs (1000pixels on the longest dimension) and a brief, 100-word email outlining your ideas and key photographic credentials. We will contact you for high-resolution files if your images are chosen for publication.
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n Advanced Photographer is published on the third Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge, CB22 3HJ. n No part of this magazine can be used without prior written permission of Bright Publishing Ltd. n ISSN number: 2045-3892 n Advanced Photographer is a registered trademark of Bright Publishing Ltd. n The advertisements published in Advanced Photographer that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. n The content of this publication does not necessarily reflect the views of the publisher.
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